《室内围栏次中音萨克斯鼓起锯子人声静默转A大调乐句》

李然/文
扁头猪鬃笔就能贯穿一切的果敢，相比平头猪鬃笔，扁头猪鬃在直接画法中更加游刃有余，象牙黑勾兑的暗色在这几组人物写生中起到了关键作用。这符合着充满分裂情绪的郑皓中，选择观察对象瞬间的幽暗走势，他快速地给出了笔势，中纹成品布表面的光润和其亮白色的底子顺从了这种放荡的开场白。而接下来的步骤，他会突然慢下来，假装挤颜料，随便和模特闲聊几句，或者安抚画室里圈养的那只牛头梗，这种停顿铺垫了接下来的仪式。仪式就该变得极其正式，为光学成像而服务颜色即将登场，而演绎这种布面油画历史中的筹备程序，挺直脖颈，虚眼观察，直到下颚上扬，身体微微前倾，圣事全备。郑皓中朴素的热爱着这种仪式，因为用这样的一种开场白迎接绘画，会让他坚信此事值得，绝不后悔。

在他的画室里，我数了数，能粗略看到四到五种进入绘画的路径，每种路径当中，又总有不一样的开场白，不同性情语气的宣读，迥异手势所构成的台词，以及被异化截取的造型意识，郑皓中在这间画室里开始了自己的表演。降b小调画朋友，转入大调多半是他不太熟悉的人，明快爽朗，摆一副好客的样子，但对更好的朋友就不一样了，那些泡在他画室里的周遭病友，纵容他添加更多不在调式关系里的外围（outside）音。孤独是不可避免的。只要持续画画，任何一个画室都会看着像监狱，而窗户就像这牢房的标点，为抹去因过度解构带来的不确定性，郑皓中用横竖的窗户栏杆拯救他厌恶的绘画格律，中黄和紫罗兰扭在一起，肮脏下贱！但用土红与煤黑来鞭打这些扭捏的花草，事后便皆大欢喜。可第二天清晨，他全然忘了前日的恨恶，给自己调换了角色，欣然面对博纳尔眼中的闪烁色泽。而在那些煞有介事，精心布陈的静物画中，深色的写意线条又被收敛了起来，取支小号羊毫笔清点罂粟油，以坐姿方式绘画来敬虔椭圆形的调色盘，那些即兴乐句中的outside迂回进inside，好吧，变奏就从干瘪水果开始吧！此刻的画家又坚信即兴并非绘画的结束，修复反复破裂之后的调式关系，虽不再谈媒介的来世，心中却念着绘画值得。

郑皓中在此次个展中的绘画和表演现场，将更加丰富且直接地澄明他在画室内的基本演绎法。我也将继续陪伴皓中通过文本相互交流，陆续呈引创作杂念，细述其中有无。

A boldness that penetrates everything can be created with a filbert hog bristle brush, comparing to a flat-headed hog bristle brush, the filbert brush is more effortless in forming direct strokes. The dark hue of ivory black plays a crucial role in these groups of figure studies. Which aligns with Zheng Haozhong's fragmented emotions. By choosing to observe the momentary dark traits of the subjects, the artist quickly executes his strokes, the smooth surface of the mid-line finished canvas and its bright white background complies with this licentious prologue. In the subsequent steps, he slows down suddenly, pretends to squeeze paint, chitchats with the models, or strokes the Bull Terrier that has been kept in his studio. This pause foreshadows the next stage of the ritual. Rituals should be extremely formal, Colors serving the optical images are appearing, and to interpret the preparation process in history of oil paint on canvas. The artist straightens his neck, observes with a vacant gaze, until his chin tilts upward, his body slightly leans forward, everything is aligned for the sacred ceremony. Zheng Haozhong simply loves this ritual, because starting to paint with such a prologue convinces him this is worthwhile, and he will never regret it.

In his studio, I counted, there are probably four to five approaches to enter painting. In these aproaches, there is always a different prologue, a declaration with unrepeatable temperaments and tones, dialogues composed of various gestures, and a sense of form that has been alienated and intercepted. Zheng Haozhong begins his performance in this studio. He paints his friends in B flat minor, figures switching to major keys are usually people he is not quite familiar with, bright and hospitable, putting up friendly facades. But it's different with the closer friends, the surrounding sick friends who hang around in his studio, they allow him to add more peripheral (outside) tones that are not in tonal relations.

Loneliness is inevitable. If he continues to paint in the same studio for years, probably any studio will look like a prison to him, and the windows are like punctuations in this cell. To erase the uncertainty caused by excessive deconstruction, Zheng Haozhong uses horizontal and vertical window frames to save the rhythm in painting which he despises. Yellow and violet are twisted together. Dirty and vulgar! But using ocher and coal black to whip these twisted plants, he will end up happily afterward. But on the next morning, he completely forgets the hatred of the previous day, switching his role, faces the shimmering colors in Bonnard's eyes with joy. Even the window frames, whom originally plays the destroyers, have also undergone slight changes in color and thickness. And in those meticulously arranged still life paintings, the dark expressive lines become restrained. He uses small goat-hair brushes to dip poppy oil and paints in a sitting position to venerate the oval palette. Those improvised musical phrases meander from the outside into the inside. Well, let's start the variation with shriveled fruits! At this moment, the painter firmly believes that improvisation is not the end of painting, it repairs the broken tonal relations after countless ruptures. Although he no longer speaks of the afterlife of this medium, he still believes that painting is worthwhile.

In this solo exhibition, Zheng Haozhong will enrich and clarify his fundamental interpretation within his studio through the paintings and opening performance. Also I will continue to accompany him, communicate through the form of texts, gradually presents his creative thoughts and discussing its presence and absence.